Showing posts with label Biber. Show all posts
Showing posts with label Biber. Show all posts

Wednesday 29 November 2017

Truly, this man was the Son of God ! ~ Mark 15 : 39

This is a review of The Joyful Mystery : Praetorius, Biber and Schütz at St John's

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


28 November

This is a review (first part complete, as an uncorrected proof) of a concert of works by Praetorius, Biber and Schütz, given under the directorship of Graham Walker and as a programme under the title The Joyful Mystery*, at The Chapel of St John the Evangelist, St John’s College, Cambridge, on Tuesday 28 November at 8.15 p.m.




Personnel :

* St John's Voices

* Newe Vialles

* Combined Conservatories Cornett and Sackbutt Ensemble

* Kinga Ujszászi and Persephone Gibbs (violins)

* Anthony Gray and David Heinze (chamber-organ)

* Graham Walker (director)





The initial draw to hear this concert had been the so-called 'Rosary’ Sonatas* of Heinrich (Ignaz Franz von) Biber (of which the first three were to be played). However, it soon became clear that the whole programme in which they had been set was attractive and well proportioned, with one half pairing them very relevantly and sympathetically with Motets by Michael Praetorius, and the other – after a breather of an interval – led up to in Die Weihnachts-Historie of Heinrich Schütz.



Programme


First half :

1. Michael Praetorius (1751-1621) ~ Wachet Auf à 7

2. Praetorius ~ Ingressus Angelus

3. Heinrich Ignaz Franz von Biber (1644-1704) ~ Mystery Sonatas*, No. 1 - The Annunciation

4. Praetorius ~ Übers Gebirg Maria geht

5. Biber ~ Mystery Sonatas, No. 2 - The Visitation

6. Praetorius ~ Uns ist Ein Kindlein heut’ geborn

7. Biber ~ Mystery Sonatas, No. 3 - The Nativity

8. Praetorius ~ In Dulci Jubilo à 8



At the start of (1) the Motet Wachet Auf (1607), from [according to the ChoralWiki catalogue] Musae Sioniae, Part V, and set for choir in seven parts, Michael Prateorius has them enter in very quick order - with a text that we may know very well from Bach's Cantata, BWV 140 (and the Chorale Prelude, BWV 645). We were soon luxuriating, in the chapel at St John’s College, in the sound of around thirty voices plus, from their Ensemble, the now more familiar ‘Christmassy textures’ of sackbutts and cornetts (with chamber-organ continuo, variously provided by Anthony Gray and David Heinze).

Not for the last time in the evening, these forces were well blended with those of Linda Sayce (on theorbo, who elsewhere plays viol as part of Newe Vialles), the bowed strings of the remainder of those present from that group (Henrik Persson and Caroline Ritchie), and of violinists Kinga Ujszászi and Persephone Gibbs [from whom we would hear in the first half as soloists in, respectively, (3) the first, and (5) the second and (7) third, of Biber’s Mystery Sonatas*].


In its introductory role, this was a lively rendition, but perhaps just one slight thing was lacking : in the part of the Motet that starts with the words Wohlauf, der Bräut’gam kömmt (‘Indeed, the Bridegroom [i.e. Christ] comes’), did we miss more sense of apprehension of and excitement at this mystery ? Uninterrupted (as the whole first half was) by superfluous applause, it was followed by (2) the Motet Ingressus Angelus (1607), a short a capella setting in five parts, in which St John's Voices, under Graham Walker, creditably brought out the reflectiveness of a text on The Annunciation, ready for the first, so entitled, of Biber’s Mystery Sonatas :


Amongst (3) Biber's Mystery Sonatas, No. 1 (The Annunciation) begins with a strikingly sustained pedal-note from the organ, plus, initially, the violin (before the theorbo momentarily joins them). In this first Sonata*, the violinist is not directed to tune differently from normally (E-A-D-G, unlike the ones that were performed later, where scordatura is used – please see below), and Kinga Ujszászi played with graciousness and a perfect sweetness, as well as virtuosity. (One can therefore credit the programme-note, which says that Biber was 'regarded as one of the finest violinists of his time'.)

Despite the conventional tuning here, the combination of instruments, which included Caroline Ritchie on viol, at some moments still seems pregnant (even threatening ?) – as if enacting the moment of overshadowing, by the power of the Most High, that Luke 1 : 35 talks of ? [The verse when Mary has questioned what has been announced (i.e. giving birth not only to a son (Luke 1 : 31), but also to a most remarkable one (Luke 1 : 32-33)), because she is a virgin, and the angel (Gabriel) replies.] Though, from Linda Sayce (on theorbo), there then emerged a delicate joy that, as in a round, passed to the violin, before developing into what resembled a passacaglia - with the delicacy of the lead Instrument and of its accompanying voices. At the end, these clear sounds disappeared into nothing – as if Gabriel (or the Holy Spirit ?) just vanishes**.


The next work by Michael Praetorius, (4) Übers Gebirg Maria geht (1609) [from Musae Sioniae, Part VI], is the first of two in German (rather than Latin), and sets two paragraphs (with a four-line Chorus) that deal with Mary, visiting her relative Elizabeth** [The Visitation, treated of afterwards in (5) the second of Biber’s Mystery Sonatas]. Hence the title, which refers to Mary, having to cross the mountain into Judea (although even The King James’ Version of Luke 1 : 39 only refers to ‘the hill country’).

Certainly compared with the style of (1) Wachet Auf (1607), its four-part setting is very different, and lightly metrical, as Graham Walker and St John’s Voices showed, minutely dividing the title-line into half-lines, i.e. ‘Übers Gebirg’ and ‘Maria Geht’ (as we were also to find in (6) Uns ist Ein Kindlein heut’ geborn, from the same year (and collection)).

Having the background timbre of the sackbutts and cornetts here, in the closing couplet, was lovely, expressing a mood that was both festal, and displaying the solemnity of restraint. At the end of the second paragraph, Praetorius repeats the couplet, to underline the importance of this element of fearing God, but also of looking to God for mercy and as a saviour [from the text of the Magnificat, Luke 1 : 46-55] – before the sound falls away into the acoustic :

er ist mein Heiland, fürchtet ihn,
er will allzeit barmherzig sein




In (5) No. 2 from the Mystery Sonatas, there was a different approach to and in the violin part, which (as part, again, of a well-balanced ensemble) this time was played by Persephone Gibbs (as, also, in the third / final Sonata) : straightaway, she was sounding 'full on' in a way that Kinga Ujszáski had not done, and – as if to accentuate the effect of the scordatura tuning – somehow more rounded. (The strings that, from top down, are normally tuned E-A-D-G become E-A-E-A in this scordatura tuning, so the lower two strings are both tuned up, by a whole tone, for this Sonata - each, apart from Nos 1 and the Passacaglia at the end, has its own scordatura.)

Biber gave us another circulation of melodic / rhythmic material, but seeming not to rely, now, to the same extent on virtuoso violin-writing, but on sound-painting – so, a tone of quiet jubilation in phrases and responses between the violin and Henrik Persson’s lower-pitched (bass ?) viol, perhaps representing the dialogue between Mary and Elizabeth ? We also heard the quieter sounds of the organ and theorbo, and the material more gently inflected to suit its character. Almost gigue-like, a short and more lively final section (not a movement as we would know it*) concluded this wonderfully atmospheric work.


Praetorius' (6) hymn Uns ist ein Kindlein geborn was another excellent collaboration between St John's Voices and the other performers, with a glorious opening brass chorale. As we had heard (4) in the preceding setting (Übers Gebirg Maria geht), there is a light metricality, but the choir gave emphasis to Gott mit uns ('God with us' [the meaning of Emmanuel, one of the names given to Jesus]). It appears on its own in the second line, and then, for further effect, repeated as two accented half-lines in the fourth line, making a pattern, for the whole four stanzas, that concludes more lyrically with wer will sein wider uns ? ('Who would want to be against us ?').

As Ujszászi provided a prominent melody-line for the second stanza, Graham Walker brought out the light beat of the opening of the first line, i.e. Auch ist gegeben, and showed how it makes a half-line with uns ein Sohn (the sense runs on to read 'We have also received a Son [...] From the heavenly throne'), reminding us from where the Christ-child came to Earth – so that the remaining stanzas can be in glory and praise of the crucified and risen Jesus. Another chorale of cornetts and sackbutts for the next stanza illuminated All sein Herrschaft und Majestät ('All his dominion and majesty'), and, in the final stanza, we heard the choir at a triumphant full volume. After a momentary pause – to stress the closing pair of lines one final time – so finished this joyfully resounding performance :

Gott mit uns, Gott mit uns,
wer will sein wider uns ?




(7) The Nativity, No. 3 of the Mystery Sonatas, has a slow and thoughtful introduction, which also gently serves to get us used to the new scordatura timbres of the violin (now tuned quite differently****) against those of the other players. Then, after a faster section (where the violin is slightly jarring with Caroline Ritchie's viol), another with dance-like rhythms, but they are held back, and where the principal line is brought around to show a different aspect, before a return – but not exactly to where we started.

In another faster passage, gorgeous multi-stopped miniatures from Persephone Gibbs, with a content purely heavenly and divine, and with light accents. The Nativity does not quite drop away to nothing here, but ends with a telling closing reflection, which may be on the humanity and frailty - even unto death ? - of the Christ-child. As with all of the Mystery Sonatas that we heard, this was a fine performance ! It showed, in how it was executed, that performance of the piece had been conceived (or even choreographed) as a whole.


Again, to close the first half, there was a nice match between what could be heard of the voices and the other musicians with (8) the Motet In Dulci Jubilo à 8 (1607) [from Musae Sioniae, Part II]. With the gentle sounds of Linda Sayce (on theorbo), and the gorgeous tone-colours of the Combined Conservatories Cornett and Sackbutt Ensemble, it was especially pleasing to hear this very familiar music by Praetorius at this point :

Not only in the context of his preceding works and with Advent approaching (starting on Sunday 3 December), but as he might have known it. (Rather than, say, in a modern choral arrangement at Christmas, e.g. that by Robert L. de Pearsall and familiar to us from Nine Lessons and Carols, from King’s College.)



Second half :

9. Heinrich Schütz (1585-1672) ~ Historia der Geburt Jesu Christi, SWV 435



End-notes :

* The Rosary Sonatas are also called, as in the programme for this concert, Mystery Sonatas (as well, it appears, The Copper-Engraving Sonatas - since it appears that, in MS and taken from the Lives of Christ and of The Virgin Mary, each is introduced by an appropriate engraving). With titles from the devotional practice of the Rosary, they are from the first cycle of five Sonatas, depicting 'Joyful Mysteries' (the second set of five being 'Sorrowful Mysteries, and the third 'Glorious Mysteries', plus a closing Passacaglia).

For the work's time of composition, we should not expect Sonata to mean what it does later, i.e. a work for one or two instruments, and with a distinct musical form, divided into a three- or four-movement structure – the notion of a ‘movement’ as such, at this time, may even be wholly anachronistic.


** For Mary, one imagines that the experience must have been at least ‘troubling’ (Luke 1 : 29-30), as well as not, until confirmed, seeming utterly real : for her, part of that confirmation (Luke 1 : 36-37) is her kinswoman (or 'cousin' ?) Elizabeth becoming pregnant*** (the visit to see whom was the subject of the following piece by Praetorius, (4) Übers Gebirg Maria geht).

[For Mary's betrothed Joseph, as (in the second half) the libretto to Weihnachtshistorie by Heinrich Schütz makes clear, the first of several dreams (Matthew 1 : 18-21) fortunately offers him reassurance and guidance about Mary and Jesus - though this one occurs before the scope of what the work tells.]


*** There is a theology that says that there is an objective difference between the following reactions (respectively, by Zechariah (when Gabriel tells him that his wife Elizabeth will give birth (Luke 1 : 11–17) – to John the Baptist), and Mary (Luke 1 : 26–37)) :

And Zacharias said unto the angel, Whereby shall I know this ? for I am an old man, and my wife well stricken in years [Luke 1 : 18]

Then said Mary unto the angel, How shall this be, seeing I know not a man ? [Luke 1 : 34]

The former apparently earns a briefer explanation (1 : 19) than Mary receives (if only of who it is whom Zechariah has not believed), but then a rebuke for not doing so and a form of punishment (1 : 20), whereas Mary both has her question answered (1 : 35), and is directed to the example of what has happened to her ‘cousin’ Elizabeth (1 : 36–37) (with no punishment). Yet they equally seem to advance factual reasons (age or virginity, respectively) that question how what they have been told can happen ?


**** The usual tuning of E-A-D-G is transformed into D-B-F#-B, which is the first of several uses of scordatura technique where all of the strings are tuned differently - the upper string is tuned down, by a whole tone, the next one up (by the same interval), and the remaining two also up (but both by two whole tones, i.e.a major third).




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Wednesday 18 November 2015

A collection of Angels and Saints, curated by Bojan Čičić

This reviews a concert by The Academy of Ancient Music, directed by Bojan Čičić

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)


18 November

This is a review of a concert given by The Academy of Ancient Music, under the direction of violinist Bojan Čičić, at West Road Concert Hall, Cambridge, on Wednesday 18 November at 7.30 p.m.


The concert was being recorded by the BBC for later transmission on Radio 3 (@BBCRadio3) (on Monday 23 November : available to listen to for 30 days), so we had Martin Handley on the stage at West Road Concert Hall (@WestRoadCH), Cambridge, introducing the items, and sometimes stopping to interview Bojan Čičić (@BojanCicic), who was leading The Academy of Ancient Music (@AAMorchestra), about features of the programme that he had devised for the concert*, which made for a fascinating element of the evening**






Programme

1. Vivaldi (1678–1741) ~ Concerto for Violin in F Major
2. Vejanovskỷ (1633-1693) ~ Sonata in D Major
3. Vejanovskỷ ~ Sonata in C Major
4. Vivaldi ~ Sonata in E Flat Major
5. Leclair (1697-1764) ~ Concerto for Violin and Strings in D Major

6. Manfredini (1684-1762) ~ Concerto in C Major
7. Biber (1644-1704) ~ Passacaglia for unaccompanied violin
8. Vivaldi ~ Concerto for Violin in E Major
9. Vivaldi ~ Concerto for Violin in D Major




1 Antonio Vivaldi ~ Concerto for Violin in F Major Per la solennita di San Lorenzo

1. Largo – Andante molto
2. Largo
3. Allegro non molto


The rather sombre mood of the opening Largo broadened into a tutti section with the Andante molto, full of graciousness. It became immediately clear that Bojan Čičić’s immense technical facility was being employed for purposes of expressiveness, and, as ever with AAM, it was a pleasure to hear a clear bass-line from Judith Evans. The solo writing had Čičić giving a skittering effect on violin, as well performing fast passages (not for the only time in the evening), with a smaller group of players.

The Largo felt very triste, and almost looked inward as some of Bach’s fugal writing for solo instruments can feel to do : the sadness was soulfully placed and centred, without sentimentalism. Vivaldi gave the violin some bird-like passages (another of the programme’s recurring themes), before the other instruments came in and, with the organ (Alastair Ross), drew to a close.

The closing Allegro non molto began with variant forms, a bit like a round, of a falling motif, and then, when Čičić came to make an explicit statement of the material, there were more bird-like bars heard, and one came to appreciate how cellist Joseph Crouch was often operating in a block with David Miller (on theorbo) and Judith Evans (on bass). A highly virtuoso run for Čičić exemplified his phrasing, and his control of pace and energy, as the concerto was nearing its end, with a singing line for the soloist, where he came in and out of prominence.



2 / 3 Pavel Josef Vejanovskỷ ~ Sonata in D Major Sancti spiritus and C Major Paschalis

We had been directed to Giovanni Gabrieli by our programme-notes, and there was a definite feel of ‘courtliness’ in this music, whose open-soundedness was also reminiscent of that of Claudio Monteverdi : almost necessarily, because of the purpose for which these Sonatas had been written, they were oriented to the celebratory, and always had the effect of the ensemble in mind.




4 Vivaldi ~ Sonata in E Flat Major Santo sepolcro

1. Largo molto
2. Allegro ma poco


Returning to Vivaldi, the Largo molto gave us an accreting group of players, and, as it took shape, did it remind somewhat of his Opus 8 (Il cimento dell’armonia e dell’inventione***), Concerto No. 4 in F minor, ‘L'inverno’, RV 297 ? There was a simplicity of line, but it was held steady and supported by Čičić’s direction, and the movement came down to a very quiet end. The Allegro ma poco, in nature a fugue, was characterized by Vivaldi’s use of repeated notes, and the piece seemed to appeal on the general level of emotion more than directly musically. It also put one in mind a little of the fugal writing (from the Kyrie eleison)of Mozart’s Requiem Mass in D Minor, K. 626 (incomplete from 1791).



5 Jean-Marie Leclair ~ Concerto for Violin and Strings in D Major, Opus 7, No. 2

1. Adagio – Allegro ma non troppo
2. Adagio
3. Allegro


The Concerto began with a clear statement of its material, here using the organ to build up its effect. Nonetheless, it felt that Leclair was initially holding much back, despite contributions made by the theorbo and notes from the organ. Later, a sense of warmth and inclusiveness had emerged in the writing of the Allegro ma non troppo, although there were still little moments of harmonic tension.

Čičić was provided with some lively playing, especially when we had reduced to the four violins, and Leclair next gave those strings some paired entries, before we heard him rising through the keys. In a solo section, we had the clear sense that this player was serving the music, and not himself, and the complex nature of the writing makes one wonder who the original violinist was (and wish to find out what is thought).

The relatively short Adagio, with its clock-effect, felt as though it owed to Vivaldi’s Opus 8 (please see above), whichever of that Concerto, or Concerto No. 3 in F Major, ‘L'autunno’, RV 293, it may be. The concluding Allegro gave the impression of the soloist building virtuosity with the other instrumentalists, and there was a sort of keening, with a bird-like quality, in the cadenzas : there was the clear idea that Leclair envisaged the soloist shining with this writing, and one could also appreciate the attack that Miller (theorbo) and Crouch (cello) brought to their playing. With the developing bird-tones (which seemed most like a cuckoo ?), Leclair showed us his sense of humour – which was rather silly, but still funny (as Python can be), and the AAM did it very well.


* * * * *


6 Francesco Onofrio Manfredini ~ Concerto in C Major Pastorale per in Santissimo Natale, Op. 3, No. 12

1. Pastorale : Largo
2. Largo
3. Allegro


It is well worth giving this Concerto Grosso an airing, as it is usually eclipsed by that of Corelli, whereas it is more reflective, and trying other things. (Apparently, if larger forces had been available, Čičić had been contemplating Locatelli’s version of such ‘Christmas Concerti’.) The first two movements, which seem to help make us ready for the relative exuberance of the third, both ended with quiet gestures / cadences on theorbo from Miller, and Ross (on organ) and Evans (double-bass) both underpinned the ‘suspensiveness’ of the central Largo.

Marked Allegro, the closing movement signals that apparent exuberance in yet more bird-like calls, before the very fine writing for violin takes us into flourishes and arabesques. The piece ends thoughtfully, and we might be reminded that the first Sunday in Advent this year is at the end of November.



7 Heinrich Ignaz Franz von Biber ~ Passacaglia for unaccompanied violin (which concludes ‘The Mystery Sonatas’, for Violin and Continuo)

In tackling this demanding Passacaglia, which impressed those members of the audience at West Road who were not already thoroughly impressed, Čičić brought out its liltingly rhythmical character, underneath its expansively developing form : now as a completely solo performer, his playing occupies the air, and speaks to us through its violinistic excellence, rather than to claim (or exert) power.

In conversation with Handley, he said how the Passacaglia is unusual for the time, being amongst the earliest writing that we have for solo violin, and, in this as in playing the piece, one was aware of Čičić’s keen, but unassuming knowledge and understanding of music from this period. (Inevitably, as one had listened, one thought also of the Bach Sonatas and Partitas, and forwards in time to Paganini’s 24 Caprices for Solo Violin.)



8 Vivaldi ~ Concerto for Violin in E Major Il riposo

1. Allegro
2. Adagio
3. Allegro


From the start of the Allegro, there was a patent oddness in the muted string-sound that Vivaldi requires, especially in the section when we were without the recognizable trio of instruments (cello, theorbo, and double-bass), with the impression of ‘thinness’ / ‘wateriness’ being appropriately otherworldly, if the repose does echo a status of being written for the feast of the nativity : meaning and expression were always foremost.

The mood of tranquillity continued with the lovely ambience of the Adagio, a musical feeling of suspension, to which David Miller’s quiet plucking of the theorbo added. The Allegro had a distinct chirpiness about it (perhaps on account of the narrative in the gospel according to Luke ?), as well as a reflective side, and a violin passage seemed to bring in what felt like very good-natured rejoicing (at the virgin birth ?). Yet there was also a passage of suspension in the playing of the familiar trio, keeping us off, until ready, for the quiet close.



9 Vivaldi ~ Concerto for Violin in D Major S. lingua di S. Antonio di Padova

By the time of this final work in the concert****, one was fully aware both of how tight the ensemble was, and, from the Allegro's first cadenza, how much Bojan Čičić was enjoying playing*****, as well as directing AAM (@AAMorchestra), by gesture and by nod. The communication between the instrumentalists was clear, with taut, attentive first and second violins (respectively, with Čičić, Rebecca Livermore, and William Thorp and Iwona Muszynska), as well as the very familiar face of Jane Rogers, on viola, on the other side of the chamber-organ. The second cadenza showed Čičić continuing to have a good time with this Concerto, which felt not only natural, but spontaneous and alive.

The scene was being set, in the second movement (marked Grave), for the conclusion of the work, but it had its own poise and grace, and Čičić was no less impressive for that, both as director and violinist : in the Allegro, he showed great confidence and assurance in establishing a forceful pace and beat for its opening, and then turning to the kindred material for the solo part.

AAM showed that it was really together under his direction, and with his excitingly taking choices for clarity and for the nature of the work’s expressiveness. As has been said, it was clear that the audience would have gladly heard more from this director and orchestra, but it was not to be on this occasion.




As is usually possible at West Road (@WestRoadCH) – as is also true of York Early Music Festival / National Centre of Early Music (@yorkearlymusic) or at King’s College Chapel (@ConcertsatKings) – a chance to congratulate Bojan Čičić on his playing and leadership, and to express the hope that the exposure, here and on Radio 3, might bring greater recognition for him as a soloist (though he did point out that we are talking about the world of baroque violin, of course).



End-notes

* The first of four performances, the others being at Milton Court Concert Hall, London, on 20 November, at Dorset County Museum, Dorchester, on 25 November, and at Hall for Cornwall, Truro, on 26 November.



** It was also interesting to see how the emphasis and even some of the information differed between Handley’s presentation and the content of the AAM programme-notes (which, unusually, also did not provide RV numbers (for the works by Vivaldi)).

*** It is a great shame that more attention is not given to all twelve Concertos in the set.

**** There was ample enthusiasm for an encore, but maybe none had been prepared, or some of the AAM players needed to get away ?

***** In its real sense, where ‘to enjoy’ and ‘to rejoice’ have common origins – not the more vacuous sense in which, most often when being served something, one is nowadays seemingly unceasingly enjoined to ‘enjoy [it]’. [It seems that, in some places (such as http://english.stackexchange.com/questions/181698/why-does-enjoy-almost-not-have-a-causative-sense), some are still discussing such matters as what words mean – and why.]




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)